Tag Archives: Keanu Reeves

The Lake House (2006, Alejandro Agresti)

There may be a pseudo-sly Speed reference in The Lake House, which reunites stars Sandra Bullock and Keanu Reeves, but it’s a spoiler. Unfortunately it is not Bullock’s Speed 2 co-star Jason Patric as her wet towel boyfriend (Patric infamously replaced Reeves in the sequel). Instead, Dylan Walsh is the wet towel boyfriend. His performance is just as boring as the exceptionally thin role is written.

And it also may not be a Speed nod because it would show some personality from the filmmakers and they truly have none.

Lake House is not an action movie about a bus. Instead, it’s a romantic drama involving a magic mailbox and seemingly magic dog. Bullock is a newly-out-of-residency Chicago doctor who lives in the “present” or 2006. We soon find out Reeves is in 2004. They have lived in the same house at different times; a stilt house on a lake somewhere near Madison, Wisconsin. The house is ostensibly a dump—no one lives on the lake, someone exclaims because Lake House also has magic realistic values—even though it’s gorgeous and designed by world renowned architect Christopher Plummer, who is also Reeves’s father. Only we don’t find out about the history of the house until almost the third act. And, as with many things in David Auburn’s shockingly pedestrian script, stops being important immediately following it getting introduced in exposition. Everything in Lake House is disposable. Including a bunch of logic in the third act.

First act is nearly romantic comedy with Bullock crying at work (because she cares so much about her patients but, thanks to Auburn’s lousy sense of pacing, probably is just mopey because she dumped Walsh at some point in the recent past) and Reeves trying to get his life back together after moving back to the area after four years away. He makes housing developments instead of being a fancy architect like dad Plummer and younger brother Ebon Moss-Bachrach (who is somehow even less present than Walsh). He wants to fix the stilt house, which makes sense because it’s where he grew up and Plummer—who’s a jerk, but not a monster—verbally and emotionally abused Reeves, Moss-Bachrach, and their mother. Then Bullock and Reeves find out the mailbox at the house is magic and they can write to each other through time.

Cue up the endless terrible letters Reeves and Bullock write to one another as voiceovers. At least when they’re reading each other’s letters, there’s some acting to it. When they’re just thinking their letters and having back and forth conversations—Bullock has to drive two hours and twenty minutes—in the best traffic—to get from new home Chicago back to the house in Madison. Or maybe they’re standing at the mailbox and writing back to each other, which kind of gets explored—the film has zero interest in the time travel aspect of the story; Auburn’s script doesn’t have a single neat time travel-related moment. The only reason it gets away with the romantic comedy thing is because the film introduces split screen to show Bullock and Reeves being separately charming. By the end the split screen is still occasionally in use, but never well-utilized because Agresti’s direction is so boring.

Second act is then Reeves and Bullock exploring the time travel mailbox and falling into a chemistry-free long distance love affair. Because eventually Reeves starts stalking Bullock in the past, when she’s got super-long hair and is entirely dependent on lawyer boyfriend Walsh who doesn’t have any reason to want a girlfriend in his yuppie lifestyle. Should’ve gotten Jason Patric.

Anyway.

Second act is also all the revelations about Reeves’s past with Plummer. The worse the revelation gets, more the Reeves tries to bond with Plummer. It’s inexplicable behavior. The only thing Auburn seems to care about in the screenplay is the architecture monologues from Reeves, Plummer, and Moss-Bachrach. The monologues are bad, but at least they’re distinct. And Plummer can make it seem legit instead of terrible. Moss-Bachrach’s the worst, Reeves is nearly middling. Agresti’s inability to direct conversations hurts with the monologues. Alejandro Brodersohn and Lynzee Klingman’s editing is choppy, but it seems like it’s Agresti’s composition more than anything else. He’s got no rhythm to the scenes. Occasionally, when Bullock or Reeves is charming enough you wish the movie were better, you wonder how a better script might have entirely changed things.

But then Agresti does something weird and bad—like his extreme long shots for conversations—and you realize it’s just the production. It’s broken in too many ways.

Bullock’s character is bad. She doesn’t get the “maybe reunite with Walsh” storyline until into the second act and it entirely flushes her doctor storyline potential. Her mom (Willeke van Ammelrooy) is around for occasional scenes, but—like Moss-Bachrach with Reeves—there’s never any surprise at the magic mail box. It’s totally normal stuff. Pedestrian like everything else about Lake House.

Bullock’s performance is probably the best anyone could do. Maybe ditto Reeves? The movie skips the motivation and development scenes where he nice guy stalks Bullock in the past and possibly jeopardizes destroying the entire timeline. Not really because Auburn never addresses any of the time travel elements and explains away Bullock seeing Reeves multiple times and having no idea she’s seen him before because she forgot what the guy she ran off to San Francisco with when she was sixteen to become a singer. You’d trust someone with that terrible a memory to be your doctor.

Okay.

Terrible part. And Shohreh Aghdashloo somehow gets an even worse part as Bullock’s new boss.

Reeves is… mostly harmless. It’s totally his movie, which is bad since his reconciliation arc with Plummer is even worse than Bullock and Walsh rekindling. But the part isn’t as bad as Bullock’s.

Technically, I suppose Alar Kivilo’s photography is fine. The editing’s bad, the directing’s bad, the script’s bad, Nathan Crowley’s production design (and Agresti’s shot compositions of it) is bad. Rachel Portman’s score could be a lot worse. The soundtrack’s really bland stuff, including a Paul McCartney song from 2005 playing in 2004 because it seems like there should be a Beatles song at that moment—the dialogue makes the song sound like a Golden Oldie too. Lake House is full of really dumb gaffs. Like, an obvious staircase where there shouldn’t be one. Or Reeves not being able to figure out his dog is a girl until Bullock tells him she’s a girl. The dog. Reeves knows Bullock is a girl because he stalks her.

Bad costume design too. Like silly.

Still, until the third act, there’s at least the potential for a good ending. Then there’s not and it’s almost a relief because it’s so lacking in ambition (as well as being dumb as far as the narrative’s internal logic goes). But it’s still a bad ending. The Lake House takes place over four years and ninety-nine minutes. It’s not abjectly terrible or anything, but it’s an entire waste of time.

Another dumb thing—well, two so real quick—The Lake House title doesn’t mean jack for Bullock and Agresti’s deathly afraid of directing in the lake house. He avoids it at all costs. It’s constantly aggravating.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Alejandro Agresti; screenplay by David Auburn, based on a film written by Kim Eun-Jeong and Yeo Ji-na; director of photography, Alar Kivilo; edited by Alejandro Brodersohn and Lynzee Klingman; music by Rachel Portman; production designer, Nathan Crowley; produced by Doug Davison and Roy Lee; released by Warner Bros.

Starring Keanu Reeves (Alex), Sandra Bullock (Kate), Dylan Walsh (Morgan), Ebon Moss-Bachrach (Henry), Shohreh Aghdashloo (Anna), Lynn Collins (Mona), Willeke van Ammelrooy (Kate’s Mother), and Christopher Plummer (Alex’s Father).


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Bill & Ted’s Excellent Adventure (1989, Stephen Herek)

About halfway through Bill & Ted’s Excellent Adventure, the film becomes truly excellent. Dimwitted metal heads Alex Winter and Keanu Reeves have successfully brought historical figures to the present and loosed them on the modern world–the mall. That sequence of the film, along with Terry Camilleri’s Napoleon at a water park, is when the film fully delivers on its titular promise.

Until that point, it gets by on some amusing dialogue, George Carlin’s glorified cameo and Reeves’s performance. He brings a warmness and likability to his stupidity; in contrast, Winter is almost standoffish in his own performance. He seems to take it very seriously, whereas no one else working on the film takes anything seriously. It would probably hurt if it weren’t for that witty script and Reeves being around to save scenes.

The first half of the film, with the time travel setup and Reeves and Winter capturing the historical figures, is okay but buffoonish. It’s not until the modern day–with its absurd handling of time travel logic–where the film’s a consistent success. It would help if Hal Landon Jr. and Bernie Casey were a little better too; Casey seems disinterested in his role, while Landon’s just bad as Reeves’s jerk dad.

As for the supporting cast–Camilleri is the standout. He’s phenomenal. Robert V. Barron does well as Abraham Lincoln, as does Jane Wiedlin as Joan of Arc. Dan Shor gets lots of screen time, but almost nothing to do.

It takes a while, but Adventure definitely works out.

2.5/4★★½

CREDITS

Directed by Stephen Herek; written by Chris Matheson and Ed Solomon; director of photography, Tim Suhrstedt; edited by Larry Bock and Patrick Rand; music by David Newman; production designer, Roy Forge Smith; produced by Scott Kroopf, Michael S. Murphey and Joel Soisson; released by Orion Pictures.

Starring Keanu Reeves (Ted ‘Theodore’ Logan), Alex Winter (Bill S. Preston), Robert V. Barron (Abraham Lincoln), Terry Camilleri (Napoleon), Clifford David (Beethoven), Al Leong (Genghis Khan), Rod Loomis (Freud), Dan Shor (Billy the Kid), Tony Steedman (Socrates), Jane Wiedlin (Joan of Arc), Bernie Casey (Mr. Ryan), Hal Landon Jr. (Captain Logan), Amy Stock-Poynton (Missy) and George Carlin (Rufus).


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Constantine (2005, Francis Lawrence)

Until the last minute, which introduces the idea Keanu Reeves is going to be narrating the film (which doesn’t start with him and has a number of scenes without him), I was going to say nice things about Constantine. I wasn’t even going to point out the son of the devil who’s coming to Earth is doing it through an illegal immigrant from Mexico. I wasn’t going to mention how Tilda Swinton seems to be the go to androgynous actor. I was even going to say something nice about the music, but the end credit music, which comes right after that lousy voiced over narration, it’s awful.

It’s definitely one of Reeves’s better performances. He never once comes across like Ted.

Rachel Weisz is terrible–I can’t believe she’s won an Oscar–but Shia LaBeouf is mildly amusing as the sidekick and Djimon Hounsou’s solid in a smaller part. Peter Stormare has a good cameo as Satan. Swinton’s awful.

Lawrence does a pretty good job directing, which I found odd since he did such an awful job with his Will Smith as a scientist movie–maybe that one was just too unbelievable. There’s some nice Panavision composition, but Lawrence shoots LA like it’s New York, which isn’t bad at all, but is peculiar–as compared to Sam Raimi, who shoots New York like LA.

The special effects are all right, the movie moves at a decent pace. It’s totally fine until the last minute, like I said, when it flops.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Francis Lawrence; screenplay by Kevin Brodbin and Frank Cappello, based on a story by Brodbin and the DC Comics character created by Alan Moore, Steve Bissette and John Totleben; director of photography, Philippe Rousselot; edited by Wayne Wahrman; music by Brian Tyler and Klaus Badelt; production designer, Naomi Shohan; produced by Lauren Shuler Donner, Benjamin Melniker, Michael E. Uslan, Erwin Stoff, Lorenzo di Bonaventura and Akiva Goldsman; released by Warner Bros.

Starring Keanu Reeves (John Constantine), Rachel Weisz (Angela Dodson), Shia LaBeouf (Chas), Tilda Swinton (Gabriel), Pruitt Taylor Vince (Father Hennessy), Djimon Hounsou (Midnite), Gavin Rossdale (Balthazar) and Peter Stormare (Satan).


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The Matrix Revolutions (2003, Lana and Lilly Wachowski)

I think The Matrix! Part Trois has to be better than the second one, if only because it’s not as terribly boring in its action sequences. The second one had that highway battle and it was bad and the Keanu Reeves versus a million Hugo Weavings and it was bad. Here, Keanu Reeves fights one Hugo Weaving (in an atrocious performance, it’s a shame how the sequels degraded the fine work he did in the first film) in front of a bunch of non-participating Hugo Weavings. It’s better. And it’s a huge, CG-aided flying fight scene–it’s the Superman versus Zod scene no one ever got to see.

Reeves is okay. It’s amazing how little his eyes effect his emoting when he acts. Jada Pinkett Smith is awful and as much as I appreciate the Wachowskis’ minorities inheriting the earth thing (none of the surviving principles are white), I’m pretty sure the character they have her play is just the equivalent of Will Smith’s heroic, but definitely not revolutionary or intimidating, black guy for white audiences.

Harry Lennix is bad in this one. Maybe he was bad in the second one too. I can’t remember. He’s usually good. But he’s an idiot in this one, even though he’s supposed to be smart.

I think the script probably read well. As a movie, it’s a bit of a disaster; I’ll bet the script read well.

Except for the Wizard of Oz cameo at the end, it wasn’t completely awful.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Lilly and Lana Wachowski; director of photography, Bill Pope; edited by Zach Staenberg; music by Don Davis; production designer, Owen Paterson; produced by Joel Silver; released by Warner Bros.

Starring Keanu Reeves (Neo), Laurence Fishburne (Morpheus), Carrie-Anne Moss (Trinity), Hugo Weaving (Agent Smith), Jada Pinkett Smith (Niobe), Mary Alice (the Oracle), Lambert Wilson (The Merovingian), Harold Perrineau (Link), Harry Lennix (Commander Lock) and Monica Bellucci (Persephone).


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